Albert Bierstadt (1830 – 1902) is regarded as one of the greatest and most well-respected landscape painters. His awe-inspiring artwork is a collection of breathtaking vistas, serene sunsets, mammoth mountain ranges, and majestic waterfalls.
However, with that being said, no artist’s work is above the criticism, scrutiny, interpretation, and analysis that come with the job. Bierstadt’s paintings were no exception and, despite being critically acclaimed, were not without their faults and shortcomings.
Like any great painter, Albert Bierstadt’s art evolved considerably throughout his career while, at the same time, remaining relatively the same at its core. The following is a critical examination of some of the painter’s greatest work, how they were received at the time they were painted, their impact on art, and the legacy they left behind.
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Light In The Forest
Over the next several years, Albert Bierstadt’s works continued to follow the philosophies of Romanticism, accompanied by the popular American landscape style, Luminism. Luminism is an art movement that employs glowing light as its central theme.
The amplified aerial lighting source, misty skies, and calm, reflective waters of Luminism paintings invoke a deep feeling of tranquility and peace. Albert Bierstadt art is some of the best examples of this style and one of the main reasons his landscape paintings are so well-respected and appreciated.
Bierstadt’s ability to combine an exciting sense of wonder and amazement for nature with a feeling of serenity and calmness is truly a sight to behold. They were both highly praised at the time and still are today. The only issue critics have put forth is that the more Bierstadt became invested in Luminism, the more his paintings became alike.
A Rustic Mill
Although famous for painting the American Western peninsulas’ sprawling landscapes, Bierstadt began his career painting in Europe. He painted dozens of paintings of the European countryside and some of the famous European mountain ranges, such as the Alps and the Matterhorn.
At the very beginning of his painting career, though, Bierstadt was less focused on the mountains. He would later become famous for painting and instead focused on the wooded hills of the countryside.
Much of his early work can be seen as a study of trees and their relationship and effect on the surrounding landscape. Despite being well received, some felt rigid and too by the book in their composition. Bierstadt’s early paintings were criticized for being somewhat bland and unimaginative.
The Wetterhorn
Over the years, Bierstadt grew in confidence as an artist, and his artwork became more Romanticist in tone. However, they still lacked much of the color and creativity that his paintings would eventually become so famous and recognizable for.
Still firmly rooted in the style of Realism during this time, a style Bierstadt would never fully depart from, traces of Romanticism did start to seep into his paintings and benefited greatly as a result. During this time, mountains also started becoming more of the central focus of the subject matter of Bierstadt’s paintings.
The artist painted several paintings of the Swiss Alps and peaks of Capri between 1855 and 1859 on top of his continuing tree-scape paintings. However, none stood out or made a real impact on the art scene. This would change when the artist traveled to America and found his true inspiration.
Valley Of The Yosemite
Most art critics, historians, and collectors agree that Valley of the Yosemite is one of Albert Bierstadt’s best paintings. It consistently sits at the top of the list alongside Sunset in the Rockies, Among The Sierra Nevada Mountains, and Rocky Mountain Landscape as the artist’s best pieces.
During this period, Bierstadt began to flourish and thrive as a painter. He had voluntarily joined several expeditions across the relatively uncharted Western expanses of America and was greatly inspired by the sights of the enormously sweeping landscapes.
Valley of the Yosemite marks a shift in the mindset of the artist. From then on, Bierstadt’s art and depictions of nature would become highly romanticized and overly dramatized. In addition, their over-exaggerated color, lighting, and shadow effects would become the basis for almost all of the artist’s work going forward.
Looking Down The Yosemite Valley
The somewhat repetitive nature of much of Albert Bierstadt’s artworks is perhaps the only real criticism one can say. Although each painting, on its own merit, is undeniably brilliant and a masterpiece by any standard, when looking at the larger collection of work, many of the paintings are almost indistinguishable from one another.
In nearly all of Bierstadt’s most famous work, the same objects appear again and again, i.e., mountains, trees, water, and overexposure to light. As a result, they are almost photographic and lack the impressions of movement and aliveness that the more modern styles, such as Impressionism and Expressionism, promoted.
For this reason, Bierstadt’s paintings can be seen as somewhat dated. However, with all that being said, this is only a minor criticism. Another final critique Bierstadt received that is worth mentioning but is often overlooked is that some of his paintings are gigantically large. As art became more commercial, large canvas painting was considered excessive and unnecessary.
The Bottom Line
Albert Bierstadt’s works are some of the most incredible in all art. Yet, despite their irrefutable greatness, the criticism they received is a humbling reminder that nothing in this world is objectively perfect, and there is always room for improvement.
